Bloomberg Businessweek magazine has relaunched, revealing a starkly different design to its previously “wacky” aesthetic. Reaffirming its focus on a business and finance audience, the magazine appears to have ditched the outlandish approach to art direction developed under the tenure of Richard Turley in favour of a more serious look and feel. In her editor’s letter, Megan Murphy describes the new design as “cleaner”, “more consistent” and “easier to navigate”. We spoke to creative director Rob Vargas to find out more.

“I think there is almost an equal number of similarities and differences between the new and previous look, and I think some readers may find the change very dramatic and some less so," Rob tells It’s Nice That. “Businessweek’s design was built on a very rigorous type and grid system, to accommodate different forms, lengths, and sizes of stories, graphics, and photography. It’s a very dense magazine, and we had to have enough rules in place so that we could work fast and not reinvent the wheel every time. “Gradually, we developed our visual style over this system. We became known for embracing irony, ‘ugliness’, imperfection. A lot of what we did was a reaction against what the normal impulses of magazine making were. If other magazines were making grandiose conceptual illustrations about the Trump administration, then our approach would be to put a lo-res reappropriation of a meme on the cover. The underlying discipline was always there, but it was mostly drowned out by the loudness of our sensibility.

“Everyone who works in media knows that you have to evolve or die. The more you settle into a way of doing things the more likely you are to fall behind. For us, seven years is a pretty good point to hit the reset button. That meant keeping a lot of the typography and architecture that was already in place, and adjusting it based on the lessons we learned from making hundreds of issues of the magazine. We set out to present stories and information in a way that would serve us, the editors, and readers better than we did before. Clarity was a priority. We wanted to showcase stories and photography in a way that let them breath while eliminating graphic devices that started to feel like space fillers and distractions.

“We rethought our previous belief that every inch of the page had to be covered with something.

“What I think a print reading experience means now, more than ever, is an opportunity to connect with a story with as little surrounding noise as possible. And our new approach allows us to finally have a level of consistency on other platforms like our website and app. We developed everything concurrently, constantly assessing whether something we were trying for print would work digitally. It informed a lot of decisions, and it was great to finally be able to approach the entire brand this way.

“In terms of the irony, ‘ugliness’, and imperfection, we’ve wiped that slate clean.

“We’re back to embracing the fundamental architecture of the magazine, and we’ll start to build on that slowly like we did before. We want to be more photography-forward, and have more rigorous standards of quality. In terms of purely graphic design, our development plan will work the same as before – we’ll figure it out as we go along, with the guiding constraint being that it has to be unique to Businessweek.”

Design studio Córdova Canillas is a constant source of inspiration. We previously featured the studio for its work with Fuet magazine, Creatives’ Club and the time when the team shared an insight into how the studio began. More recently, Diego Cordova and Marti Canillas channelled their expertise into a completely fresh redesign of Fucking Young! magazine.

A new book collating 350 retro posters, pressbooks and stills from the “golden age” of porn cinema is being published by Reel Art Press. X-Rated Adult Movie Posters of the 60s and 70s by Tony Nourmand and Graham Marsh celebrates the unashamedly crude, cut-and-pasted collage artwork made to promote these B-movies and their provocative titles such as Flesh Gordon and Come One Come All.

“Riding the line between brutal exorcism and a poetic sublime, boxing has produced more legends than any other sport of the last century,” so says Anicee Gaddis in an article in Victory Journal which takes a closer look at Ghana’s boxing scene.

Graphic designer Paul Bouigue’s offbeat zine, Le mois d’août is about holidays and how various inanimate objects feel during the summer break. “Actually they are not feeling very cool – they kind of feel forgotten,” says Paul. Inspired by the time he spends alone working at his parents’ house, Paul thought it would be interesting to draw the objects around him that he often ignores. “I wanted to make them look and feel how I was feeling.”

German illustrator Max Löffler’s project Daymare Boogie is “an attempt to understand and grasp this raging current called modern life”. Addressing our imperfections and the anxieties faced by all, the black and white zine looks at the issues surrounding individuals in society. “The idea derives from a project I did before called Psychic Vault. It was about subconscious memory and I had a lot more ideas that would fit in the zine, so I just kept on illustrating,” explains Max. “When I had a decent amount, I stumbled upon 100for10 by Melville Brand Design, which is an artist book project with each book consisting of 100 black and white pages available to buy for 10€. I contacted them and started to work on the illustrations so that they would fit in the concept of Daymare Boogie.”

You can always count on Canadian quarterly publishing venture, Editorial Magazine to bend the rules of art and photography content, with its sharp articles and commissioning wit. Its most recent issue, which editor-in-chief Claire Milbrath describes as the best yet, continues this flair and even includes dogs too.